DVD is capable of 24bit at 192kHz SR in stereo.I just wonder which record / reply medium is going to cover 20Hz-80kHz range (at a price point which is viable).
How many people are interested?
DVD is capable of 24bit at 192kHz SR in stereo.I just wonder which record / reply medium is going to cover 20Hz-80kHz range (at a price point which is viable).
Pre-fader to mix also?All tracks sent to the master as well as to a buss, pre-fader
Um no. The center channel/speaker was incorporated to localize dialog at the screen in the front of room/theater, based on first arrival time heard by the audience.Just my two cents,
On panning, hard left or hard right are the only positions of zero phase , Center in stereo is kinda there but still subject to anomolies of stereo speakers room acoustics etc. That is why theatre sound developed the center speaker. to increase the clarity of dialog.
Stereophony is a bit more complex than that and mixing for film even more.So there are few real choices for pure punchy reproduction until you get to the bottom frequencies where the two speakers function together as a single array. (That will depend on the spacing of the speaker pair.) So to pan outside of the hard left and right creates "fuzz" in the mid and high frequencies, and the real question is how much fuzz do you want.
In a mix you can use that to contrast with the stuff that is in your face clear. Futher, adding of time delays choruses, Haas effect etc. can make mid and hi stuff clearer, but it is at expense of low and mid low frequencies which will add comb filtering that ruin any phase linearity. To add to the complication, people hear things differently. Some are able to isolate sounds, hearing around all the fuzz. To others it is just one big din. Others have one ear that hears things different from the other so they will favor one side over the other. So trying to come to a consensus is sometimes impossible. So unless there are individual speakers in all over the place - super Atmos surround? (Has anyone heard playback in George Massenbergs's Blackbird room) We make the best decision in the given situation with the given listeners.
yucky is not meant to be objective. "Objective" only really matters if it's needed to make Money or as a defendable legal basis, for instance doctors or building engineers, if sued, will quite possibly be found not-culpable if they followed evidence procedures. But objectivity is not always required to make money as so many have proved like Sungha Jung and Yuzuru Hanyu, George Masenburg, Bill Putnum and the like who pursue a direction opposite of yucky (cuz they were probably born with good taste) and if not for these unobjective people life would be all yucky all the time.Yucky is not an objective technical term.
JR
Objectivity matters in high performance circuit design. In marketing not so much.yucky is not meant to be objective. "Objective" only really matters if it's needed to make Money or as a defendable legal basis, for instance doctors or building engineers, if sued, will quite possibly be found not-culpable if they followed evidence procedures. But objectivity is not always required to make money as so many have proved like Sungha Jung and Yuzuru Hanyu, George Masenburg, Bill Putnum and the like who pursue a direction opposite of yucky (cuz they were probably born with good taste) and if not for these unobjective people life would be all yucky all the time.
But this has been well established as usually being a question of pan law. Given that the centre:sides ratio is different by default in different consoles and DAWs, the same material may play back differently in them.
It is now less and less common, but 15 years back, it varied drastically, and was often not changeable in DAW options.
Beyond that, I also did think that before Pro Tools went 64 bit float, Logic sounded better to my ears.
My logic there is that there was more channel headroom (logic would read as if you had a peak, but not actually peak, given the essentially-infinite channel headroom, where PT would peak). This limited actual peaking to the output buss or plugins that didn’t have as much headroom.
Anyway, back to the actual question of preamp tone![]()
But still a term of art with varying degrees. Somewhere between "Oy Veh!", "Oh shit" and "WTF is wrong with that?", followed by a mad dash to the mute button.Yucky is not an objective technical term.
JR
So what? Phase-shift in minimum-phase systems (which most linear audio equipment are) is just a collateral of frequency response.can I add phase distortion? To clarify, I mean the preamp’s phase response changing over the frequency range amplified. Any capacitor or inductor will by definition exhibit this characteristic and cause phase shifts which are typically greatest at the highest or lowest frequencies amplified.
That's my point: I'm not sure audio systems are "minimum-phase" if you compared the phase-shift at (say) 20Hz with that at 20kHz.minimum-phase systems
That's entirely dependent on the circuit design; a DC-coupled gain stage with no filtering shouldn't add any phase distortion but in most audio pre-amplifiers, stages are AC coupled and the coupling capacitors themselves introduce the effect with sequential AC coupled stages summing to the overall effect.What do you think is the phase-shift of a circuit that passes 20Hz-20kHz
Being minimum-phase has nothing to do with the amount of phase-shift at LF or HF.That's my point: I'm not sure audio systems are "minimum-phase" if you compared the phase-shift at (say) 20Hz with that at 20kHz.
No phase distortion at LF, because by consequence of being MP, there is no phase-shift at LF when the response extends to DC. In other words the LF cut-off frequency is zero Hz.That's entirely dependent on the circuit design; a DC-coupled gain stage with no filtering shouldn't add any phase distortion
That is correct.but in most audio pre-amplifiers, stages are AC coupled and the coupling capacitors themselves introduce the effect with sequential AC coupled stages summing to the overall effect.
It would be if audition had the capability of evaluating phase.But it's not about absolute phase shift, per se. My last simply questions whether the variance in phase shift by frequency, which tends to be more notable at the extreme ends of the frequency response, could be related to “punch and smoothness differences” in preamps
Quite so for absolutes. But where there are phase shifts in some frequency ranges, I think they'd be audible.if audition had the capability of evaluating phase
I don't follow ... a DC-coupled amplifier doesn't necessarily have a frequency response from 0Hz to whatevera preamp with a frequency response of 20-20kHz has more phase-shift and probably less "punch" than one that goes 7Hz-60kHz
Headroom or dynamic range is a well known objective metric.On the topic of “punch and smoothness differences” in preamps, just adding to my earlier throw-in of headroom – because ability to handle the transient peaks when a saucepan lid’s dropped as well as having sufficient dynamic range to capture dialogue and the sound of a buzzing fly, etc., feels important to me –
Phase response or phase shift is predictable, phase distortion sounds like some non-ideal (?) behavior.can I add phase distortion?
Are you talking about deviation from expected response, or normal phase shift wrt frequency.To clarify, I mean the preamp’s phase response changing over the frequency range amplified.
RLC phase shift is predicted by design equations.Any capacitor or inductor will by definition exhibit this characteristic and cause phase shifts which are typically greatest at the highest or lowest frequencies amplified.
I'm not sure audio systems are "minimum-phase"
where there are phase shifts in some frequency ranges, I think they'd be audible.
Unfortunately that is a pointless exercise and shows just how little most people understand about the relationship between frequency, phase and delay.That's my point: I'm not sure audio systems are "minimum-phase" if you compared the phase-shift at (say) 20Hz with that at 20kHz.
It's not a matter of aiming.you should not be aiming for minimum phase but linear phase.
Yes, but in practice this delay is far from being constant.Simply put. all systems will have a delay.
What do you mean "bounce a few times"?In any case, I am 100% sure that when I bounce a mix out of Logic a few times the mixes sound different from each other.
Again, are you sure that the pan laws are exactly the same in PT and Logic?They do not null 100% when imported to another DAW. I have a sense that it's mostly time-based effects that play differently with each pass, but I can't be convinced that all the automation plays correctly each time I play the session back.
Enter your email address to join: